After finding success in his native Andalusia, Emilio Sánchez Perrier moved to Paris in 1879 and joined the ateliers of Jean-Léon Gérôme and Félix Ziem. The synthesis of Gérôme's traditional academic training and Ziem's expressive, naturalistic and somewhat Impressionistic approach is evident in Sánchez Perrier’s exquisitely rendered landscapes.
After Delacroix visited Algiers and Tangiers in 1832, Northern Africa became a destination for artists. Sánchez Perrier’s fellow countryman, Marià Fortuny y Marsal, was in Morocco by the mid-1860s, and Rudolph Ernst, Edwin Lord Weeks and John Singer Sargent were all painting in Tangiers by the 1880s. By the time the present work was painted in 1887, Sánchez Perrier was well established as an artist in Paris, and that he would travel to Northern Africa after his time in these ateliers is not surprising, and the lure of Morocco was strong.
While the exact location of this work is not recorded or known, the topography and vegetation are related to paintings of the Rivière des Juifs, an area to the northwest of the Ancient Medina, which Sánchez Perrier also painted during this 1887 trip. The proximity of this rural area to the bustle of the ancient city was clearly a draw to many; in fact, the American artist Willard Leroy Metcalf painted the same river in 1887, attesting to the popularity of such idyllic yet intriguingly foreign landscapes.